Released in July 1980, 45 years ago, Cabaret Voltaire, initially composed of Stephen Mallinder, Richard H. Kirk, and Chris Watson, released their second studio album ‘The Voice Of America’ following their 1979 ‘Mix-Up’ LP. The Voice of America stands as a seminal work in the post-punk and industrial music landscape. This album by Cabaret Voltaire, a band hailing from Sheffield, England, showcases their innovative approach to sound and their critical perspective on socio-political issues. The album's mix of abrasive electronic sounds, tape manipulations, and dystopian themes firmly established Cabaret Voltaire as pioneers in the industrial music genre.

The album opens with "The Voice of America/Damage Is Done," immediately setting a tone of disquiet and urgency. The track's layered electronic textures and dissonant rhythms create an unsettling atmosphere, reflecting the band's discontent with contemporary socio-political climates. Richard H. Kirk's guitars and electronics, Stephen Mallinder's vocals and bass, and Chris Watson's tape manipulations combine to produce a sound that is both jarring and captivating.

Throughout the album, Cabaret Voltaire employs a wide array of sonic techniques that were groundbreaking at the time. Tracks like "Premonition" and "News From Nowhere" feature heavy use of tape loops, found sounds, and experimental production methods. These elements contribute to a sense of fragmented reality and media saturation, themes that are central to the album's conceptual framework.

The lyrics throughout The Voice of America are often cryptic and fragmented, mirroring the chaotic soundscapes. Stephen Mallinder's vocal delivery ranges from detached and monotone to aggressive and urgent, emphasizing the album's themes of alienation and dissent. The band's lyrics critique mass media, consumer culture, and political propaganda, reflecting their disillusionment with the state of the world at the time.

The track "Obsession" delves into themes of control and surveillance, a reflection of the growing concerns over government and corporate monitoring. "Messages Received" and "Stay Out of It" further explore these ideas, painting a picture of a society inundated with information yet disconnected from reality.

Produced by the band themselves, The Voice of America is characterized by its raw and unpolished sound. The use of rudimentary recording equipment and unconventional production techniques gives the album an edge that many contemporary recordings lacked. This DIY approach was not only a necessity due to budget constraints but also a deliberate aesthetic choice that aligned with the punk ethos of the time.

The album's influence can be seen in the works of many subsequent artists in the industrial and electronic music scenes. Bands like Nine Inch Nails, Ministry, and Front 242 have cited Cabaret Voltaire as a significant influence, particularly for their pioneering use of electronics and tape manipulation.

Upon its release, The Voice of America received mixed reviews. Some critics were put off by its abrasive sound and unconventional structure, while others praised it for its innovation and boldness. Over time, however, the album has come to be regarded as a classic, with its influence on the industrial genre being widely recognized.

The album's exploration of media manipulation, surveillance, and socio-political control has proven to be remarkably prescient. In an era where these issues are more relevant than ever, The Voice of America continues to resonate with new generations of listeners.

The Voice of America is more than just an album; it is a statement of resistance and a call to awareness. Cabaret Voltaire's use of abrasive electronics, found sounds, and experimental production techniques created a soundscape that was both innovative and reflective of the band's critical view of society. Despite its initial polarizing reception, the album has endured as a crucial work in the history of industrial music, influencing countless artists and continuing to challenge listeners with its uncompromising vision.

The Voice Of America - LP/CD ROUGH 11

DISCOGS

On this day, 9 years ago, the electrifying debut album "The Juggernauts Are Coming" was released by the Belgian EBM band The Juggernauts. Released on July 22 2016, by the renowned Berlin Out Of Line Records, this album marks a significant entry into the electronic body music scene, showcasing the band's raw energy and innovative sound. It was produced and recorded by BORG (aka Peter Mastbooms) and Glenn Keteleer (Radical G.) at Radical G. studios.

The album contains 10 songs and is characterized by its hard-hitting beats, aggressive synth lines, and commanding vocals. It draws heavily on the traditional EBM sound while incorporating modern electronic influences. Critics praised "The Juggernauts Are Coming" for its powerful production and unapologetic intensity. It quickly gained a following among EBM enthusiasts and solidified The Juggernauts' place in the genre. "The Juggernauts Are Coming" is a must-listen for fans of EBM and electronic music. Its relentless energy and critical social commentary make it a standout debut that continues to resonate in the electronic music community.

The Juggernauts - The juggernauts Are Coming (CD OUT 802)

DISCOGS

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On this day, 42 years ago, The Cure performed their single ‘The Walk’ on BBC's Top Of The Pops (July 22nd 1983). Initially released as a stand-alone single in July 1983, it almost immediately became the title track of a six-track 12” EP.

The song became The Cure's biggest UK hit to this point, peaking at #12, and their first entry into the UK top 20.

At the time of recording The Cure was briefly reduced to the two founding members Robert Smith and Lol Tolhurst following the departure of bassist Simon Gallup following the end of the band's previous tour in support of the album Pornography (1982).

Created using relatively new electronic equipment, the Oberheim OB-8 synthesizer and DMX drum machine, the genesis and recording of the track - though not the release date - predates New Order’s Blue Monday. Similarities between the tracks are likely the result of experimentation with similar equipment.

This ‘just out of the box’ experimentation is best illustrated by listening to the opening of ‘The Walk’. The synth note that gives the track its distinctive discordant feel was the result of a stubborn piece of keyboard programming the band found impossible to remove.

The Walk

I called you after midnight
Then ran until I burst
I passed the howling woman
And stood outside your door

We walked around the lake
And woke up in the rain
And everyone turned over
Troubled in their dreams again

Visiting time is over
And so we walk away
And both play dead then cry out loud
Why we always cry this way?

I kissed you in the water
And made your dry lips sing
I saw you look
Like a Japanese baby
In an instant I remembered everything, everything, everything

I called you after midnight
Then ran until my heart burst
I passed the howling woman
And stood outside your door

I kissed you in the water
And made your dry lips sing
I saw you look
Like a Japanese baby
In an instant I remembered everything, everything, everything

Take me for a walk
Take me for a walk
Let's go in the water
Take me for a walk

Songwriters: Robert James Smith / Laurence Andrew Tolhurst
© Universal Music

DISCOGS > 7”

DISCOGS > 12” EP

"The Day the World Went Away" (HALO 13), released 26 years ago, on July 20, 1999, by Nine Inch Nails, is a significant single from their third studio album, "The Fragile." This track showcases Trent Reznor's distinctive industrial rock style, blending haunting melodies with raw, emotional intensity.

Clocking in at over four minutes, the song, which contains no drums at all, diverges from the band's earlier aggressive sound, favoring a more atmospheric and introspective approach. The lyrics, minimal yet powerful, reflect themes of loss and despair, creating a somber and reflective tone. Reznor's vocal delivery is both haunting and evocative, complementing the song's melancholic instrumental backdrop.

Musically, "The Day the World Went Away" features layers of distorted guitars, intricate electronic textures, and a compelling use of silence and dynamics. The track's unconventional structure and ambient elements exemplify Reznor's innovative approach to songwriting and production.

Accompanied by a stark, monochromatic music video directed by Reznor and Bill Yukich, the song has become a fan favorite and a testament to Nine Inch Nails' enduring influence in the industrial rock genre.

The song was the band's first top-forty hit on the US Billboard Hot 100, peaking at number 17, which remains their highest-ever position on the chart.

Formats and track listings

"The Day the World Went Away" (HALO 13) CD single
Nothing Records / Interscope Records INTDS-97026

1. "The Day the World Went Away" (single version) – 4:03
2. "Starfuckers, Inc." (long) – 5:24
3. "The Day the World Went Away (Quiet)" (remixed by Trent Reznor) – 6:20

"The Day the World Went Away" (HALO 13) - 12" single
Nothing Records / Interscope Records INT12-97026

Side A
1. "The Day the World Went Away" (single version) – 4:01
2. "The Day the World Went Away (Quiet)" – 6:20

Side B
3. "The Day the World Went Away (Porter Ricks)" – 7:04

DISCOGS

On July 19, 1978, 47 years ago, the Dead Kennedys made their debut performance at the Mabuhay Gardens in San Francisco, California, a venue known for nurturing punk rock talent. Formed in June of the same year, the band's lineup consisted of Jello Biafra (vocals), East Bay Ray (guitar), Klaus Flouride (bass), and Ted (drums). The Dead Kennedys quickly became known for their provocative and politically charged lyrics, as well as their high-energy performances. Their first concert at the Mabuhay Gardens set the stage for their influence in the punk rock scene, characterized by a raw, fast-paced sound and a rebellious attitude. This initial performance was a pivotal moment, marking the beginning of a career that would see the Dead Kennedys become one of the most significant and controversial punk bands of their time. Their music, often laced with satirical commentary on social and political issues, resonated with a generation disillusioned by mainstream culture. The Mabuhay Gardens show established the Dead Kennedys as a formidable force in the punk movement.

Partial setlist retrieved from the Chan 25 weekly Target Video Show footage

Forward To Death
I Kill Children
Kidnap
III In The Head